Orchestre Metropolitain de Montreal - Yannick Nezet Sequin - Joyce Didonato

November 22, 2019, Carnegie Hall
Orchestre Metropolitain de Montreal - Nezet Sequin - Didonato
Mozart - Bruckner

As I love the Montreal Symphony Orchestra I had high hopes for this "second" orchestra of the city, especially since their playing in the Bruckner cycle on ATMA was of a high order. I was not disappointed.

Mozart often opens for Bruckner, but this time it with a twist. First came the Overture to La Clemenza di Tito. The playing of the orchestra was absolutely delightful, lithe and alert, and Nezet-Sequin showed his expertise in tone painting, even in small details. Then came two arias, "Parto, parto, ma tu ben mio" and "Non piu di fiori". Although DiDonato barely was able to dip into the lowest part of the latter, in general they were very well sung. But, as with many American singers, her diction was not the clearest and, more importantly, I remain strangely unmoved by her characterization. And so, I enjoyed them rather less than her French program last year with the Philadelphia (here) and in German Opera in 2011 (here). Part of this may be due to the opera itself, which I enjoy less than, say, Figaro. This was proven when as an encore she sang Cherubino's "Voi che sapete", which I enjoyed more.

My fingers were crossed before the Bruckner 4th began. Nezet-Sequin is ubiquitously present in NY, but up to now I almost always missed something when he conducted big works. He is a Bruckner veteran, and his Bruckner cycle on ATMA has an equal number of admirers and detractors (count me in both camps). It's amazing that this marked the third time I have heard him conduct Bruckner. The Bruckner 7th earlier this year with the MET Orchestra (here) and the 9th in 2014 with the Philadelphia (here) both left me somewhat unsatisfied.

But this time around, with a fine orchestra that has been his own for the longest time, things were definitely different. Overall, the conducting was patient and the architecture very well maintained. Some of his ways with Bruckner were similar to previous outings. In the first movement, he overdrives sometimes and the climaxes are equally loud. Also, the way he moulds his strings is towards the legato side, seamless, which, though beautiful, doesn't always suit Bruckner. The second movement could have used a little more mystery, if not spirituality. The scherzo was well done. Most satisfyingly, however, was that the finale was well built up and all of one piece.

The seating was a little unusual. Divided violins, lower strings in the center. The double basses were in the last row center, flanked by horns to the left and the rest of the brass to the right (quite a hole between them and the strings on the right. The sound was perhaps a little "French", lighter than usual, especially the brass. Though the lower brass sound could have used more heft, commendably the horns were awesome and unfaltering, The finest concert I have heard Yannick done.

The same program 2 days earlier in Chicago.